• “The reasons for Britten Sinfonia’s incremental rise in the past 20 years are various, but among them are a commitment to interesting programmes and the assiduous building of relationships”

  Financial Times

• “The playing was marked by the kind of luminous and infectious beauty that only comes from a true marriage of mastery and love”

  The Guardian

• “The UK’s most consistently dynamic chamber ensemble”

  The New Statesman

• “I haven’t heard a chamber orchestra performing with such extrovert character and unflagging energy for years.”

  The Times

• “But as always with this orchestra there was more to savour than just stellar perfomance. The programme was ingeniously shaped.”

  The Daily Telegraph, Ivan Hewett

Britten Sinfonia Voices

In England we are fortunate to have a choral tradition which has continued uninterrupted for hundreds of years. The cathedral and collegiate traditions continue to contribute many into the profession who are equipped with skills which will stand them in good stead throughout their careers, while institutions such as the National Youth Choirs of Great Britain continue their tireless and inspirational work in developing young singers.

Choirs and choral works hold a special place in our affections and interests as a nation, something which is not limited only to those who regularly attend classical concerts. With television series such as the BBC’s Sacred Music and the recent recording by I Fagiolini (Britten Sinfonia collaborators at the 2010 Proms) of a long lost Italian renaissance masterpiece claiming a place in the pop charts no less, choirs remain very much on our musical and cultural radar.

2011-12 saw the inaugural performances by Britten Sinfonia Voices, the new regular chorus of Britten Sinfonia headed by Chorus Director Eamonn Dougan. The chorus is made up of a mixture of emerging talent alongside more experienced singers – a combination in keeping with Britten Sinfonia’s ethos, so that  the next generation of performers are cultivated by learning from those around them.

Frequently asked questions

Do you get instrumental lessons as part of the Academy?
No, we would expect you to continue studying your instrument with your current instrumental teacher while taking part in the Academy. You will work with some of the UK’s top chamber musicians, but not individually in the traditional teacher / student fashion.  Britten Sinfonia Academy is designed to work alongside your current instrumental lessons and your participation in school, private or Music Service ensembles.

How does Britten Sinfonia Academy work alongside my other my other musical commitments?
We strongly believe that the skills gained from taking part in Britten Sinfonia Academy will be in addition to the skills you get from taking part in other musical opportunities. For example, working with Britten Sinfonia is totally different from playing in a symphony orchestra and will require different skills. If you are already a member of a County or School Music Ensemble, we will expect you to continue to take part in that ensemble whilst playing in Britten Sinfonia Academy. We are working closely with the Music Services to ensure that our opportunities don’t clash, as we want to support and encourage you to attend both.

We appreciate that young musicians are often very busy and that it is difficult to balance school work, life and music. If you want to discuss your personal situation, please do get in touch with Isobel Timms, Creative Learning Director.

How much does it cost to become a member of Britten Sinfonia Academy?
We are looking to recruit musicians regardless of their financial means, ethnic or social background.
Bursaries are available, both to cover fees and travel. Please contact Isobel Timms Creative Learning Director if you would like to discuss bursaries.

Britten Sinfonia Academy is supported by the Monument Trust, and we have therefore been able to keep fees to a minimum. There will be a fee for 2013/14 of £170, which will be payable on accepting a place in Britten Sinfonia Academy.

If I become a member of the Academy, how long will I be a member for?
Britten Sinfonia Academy will be a one year opportunity. At the end of the year, members will be able to re-audition if you would like to take part for another year.

What is the commitment?
In the first year, the group will meet for 12 days of core music courses and all members will be required to commit to all course dates. In addition, there may be opportunities to meet players at BS rehearsals and concerts that you are invited to.

Where will Britten Sinfonia Academy take place?
Britten Sinfonia Academy will recruit musicians from all over the East, and will not have a fixed home. However, we regularly play in Norwich and Cambridge and we therefore expect the Academy to reflect that. We will alternate our meeting places, throughout the year, and also take into account where the recruited members of the group live. All participants will be required to travel to attend all opportunities throughout the region but we will of course do our best to arrange lift shares and travel bursaries will be available.

What are the dates for the 2013-14 Academy?
Wherever possible, we will require all participants to attend all sessions throughout the year. In addition, other opportunities and invitations may present themselves, however these are the compulsory dates for 2013/14:

    Saturday 7 September - induction day
Saturday 21 & Sunday 22 September - course 1
Saturday 12 & Sunday 13 October - course 2
Sunday 2 Februrary, Saturday 8 & Sunday 9 February - course 3
Sunday 16, Saturday 29 & Sunday 30 March - course 4   - copurse -

Additional potential dates:
Potential course Saturday 28 June / Sunday 29 June 2014 linked to:
Potential performances x 2 - Week of July 7 – 11 – more details to be announced shortly.
Potential performance 30 Nov 2013 – Brass players only (plus potential rehearsals prior to this performance date)

I’m also interested in Aldeburgh Young Musicians – what’s your advice?
Our two organisations are in close communication and are equally committed to ensuring that young musicians from the East of England are able to access high quality musical opportunities. The two schemes can complement each other very well and where appropriate, we will recommend young musicians to apply for AYM and vice versa. We are keen to help young musicians discover the most appropriate opportunities for themselves as individuals. We also hope to work together and share opportunities in the future.

It may be appropriate for you to become a member of both groups or for one organisation to direct you to the other.

You can discuss this choice with your music teacher, and both Isobel from Britten Sinfonia and Colin Virr from AYM are happy to chat to you about what is suitable for you as an individual.

What are the main differences between Aldeburgh Young Musicians and Britten Sinfonia Academy?
Aldeburgh Young Musicians is part of a national network of Centres for Advanced Training (CAT), endorsed by the Department for Education (DfE).  Their distinctive scheme is intended to develop and nurture young musicians of exceptional potential through continued development, rather than to provide one-off ‘holiday’ courses. For those who choose, Aldeburgh Young Musicians is providing a completely balanced and personalised music programme which coordinates individual lessons, intensive residential courses at Snape Maltings Concert Hall, Suffolk, mentoring and performance opportunities. Their programme takes into account an individual’s contribution towards county or national ensembles and orchestras, too, and so complements the programme offered through Britten Sinfonia Academy. AYM is designed to provide students with a broad musical experience which will help them develop into an exciting, creative young musician.

AYM works with young people from a wide range of musical backgrounds. The scheme is less about formal teaching and more about encouragement to question and experiment, using their talents to explore new ways of working, including creating new music and in different styles and genres. Aldeburgh Young Musicians have fabulous opportunities to develop their individual musical identity but fewer opportunities to work within more formally structured ensembles. Find out more on their website.

Britten Sinfonia Academy on the other hand, is a year long programme and we are a flexible and open-minded group of musicians but rooted in classical chamber orchestra tradition. We want to replicate this with Britten Sinfonia Academy and are searching for classically trained young musicians, with a passion to learn and explore. 

Britten Sinfonia Academy will help to develop young musicians’ skills as chamber musicians, leaders and team players. Although we will run one creative course per year, where we will look at improvisation, creative composition and collaborative work, the main foundation of our courses will be working as a chamber orchestra.

Auditions Information

Applications for this year have now closed.  Please check back towards the end of the year for information on applying for the 2014/15 programme.

The auditions are in the same kind of format as the Orchestra’s real auditions. Audition days are designed so that you have time to get to know us, and us you. Sessions will last for approximately 3 hours and in that time you will have the opportunity to meet, hear and play alongside Britten Sinfonia members who will be the Academy tutors. The session will include:

• Introduction from Britten Sinfonia musicians
• Group exercises
• Work as a small chamber group (alongside other young musicians and Britten Sinfonia musicians)
• Solo performance performed to the panel (c. 10 minutes)
• Short interview with the panel

We will supply an accompanist but if you are more comfortable with your own accompanist, you’re more than welcome to bring them with you.

Interested in applying?

Applications for this year have now closed.  Please check back towards the end of the year for information on applying for the 2014/15 programme.

What instruments?
We are looking for instruments normally found in a chamber orchestra:
Violin | Viola | Cello | Double Bass | Flute | Oboe | Clarinet | Bassoon | Horn | Trumpet | Trombone | Percussion | Harp | Piano

What standard?
We are looking for advanced players of grade 8 standard or equivalent – although you don’t have to have taken any exams.

What skills?
We are looking for young musicians love making music.
Who are:

• highly talented classical players
• open minded and inquisitive
• passionate about their instrument

Who enjoy:

• working in large and small groups alike
• playing in orchestra and would like to discover different ways of working
• collaborating and exploring new music

 

What will I get out of it?

Britten Sinfonia is a world class chamber orchestra with roots in the East of England. We regularly play in Cambridge, Norwich, Barbican in London and all over the world.

We love exploring new music, performing concerts where we mix old and new music together, and creating programmes with exciting connections between pieces. We are excited by the way we work, and want to pass on some of these skills and our way of working to younger players.

What will members get out of it?
Working alongside members of Britten Sinfonia who will be the lead tutors on Britten Sinfonia Academy projects, we will give the Academy members experiences of

• playing as a chamber orchestra, often without a conductor
• leading and working collaboratively, where your ability to be part of the team and contribute your musical ideas is key
• playing in small chamber groups
• discovering new repertoire and contemporary composers
• being inspired by guest artists and their ways of working
• understanding how the professional ensemble works with opportunities to hear the orchestra in rehearsals and concerts
• mentoring from a Britten Sinfonia musician
• exclusive high-profile performance opportunities

Britten Sinfonia Academy

Britten Sinfonia Academy from washmedia on Vimeo.

Britten Sinfonia Academy is for young musicians of secondary school age, from the East of England. Britten Sinfonia Academy takes place through intensive weekend courses for young musicians focusing on the things that make Britten Sinfonia unique:

• playing without a conductor
• mixing up genres and playing in different styles
• performing in small chamber groups
• working with inspiring special guests
• improvising, composing, exploring new music

Courses are designed and run by members of Britten Sinfonia, giving Academy members opportunities to work and play with some of the UK’s best chamber musicians.

Find out more using the menu on the left.

 

Britten Sinfonia Own Label

Britten Sinfonia launched its first own label CD in March 2009. The orchestra is acclaimed for its rigorous, adventurous approach to programming and Britten Sinfonia Own Label follows suit. To order copies of Britten Sinfonia's own label CD's for £10 each plus postage and packing please complete an order form and send with a cheque to Lisa Buckby, Britten Sinfonia, 13 Sturton Street, Cambridge, CB1 2SN.  Download order form

Read reviews of the two discs here

The first release set the tone, with artistic fusions and distinctive new works performed by Britten Sinfonia and outstanding guest artists. Songs of the Sky, features recent Britten Sinfonia commissions by Tarik O’Regan, Huw Watkins, Steve Martland, John Tavener and jazz saxophonist Jason Yarde and features soloists Alina Ibragimova, Nicholas Daniel, Julius Drake, Joanna MacGregor, Jacqueline Shave and Jason Yarde. The running order is:

• Steve Martland Tiger Dancing Click here to listen to a 1 minute clip
• Huw Watkins Dream Click here to listen to a 1 minute clip
• Tarik O’Regan Raï Click here to listen to a 1 minute clip
• Jason Yarde Who Knows the Beauty Click here to listen to a 1 minute clip
• John Tavener Songs of the Sky Click here to listen to a 1 minute clip

Britten Sinfonia Own Label’s second release is devoted to the music of Paul Hindemith and in particular his compositions for the organ, used so creatively to create new sound-worlds in his ensemble piece, Kammermusick 7. Alongside his sublime wind quintet, Hindemith’s complete solo organ music is featured (including the first recording of his Zwei Stüke)performed by the celebrated young organist Daniel Hyde on the new organ by Orgalbau Kuhn at Jesus College Chapel, Cambridge.

• Kammermusik No. 7 Op. 46 No. 2 Click here to listen to a 1 minute clip
• Sonate 111 uber alte Volkslieder Click here to listen to a 1 minute clip
• Zwei Stucke fur Orgel Click here to listen to a 1 minute clip
• Kleine Kammermusik fur funf Blaser Click here to listen to a 1 minute clip
• Sonate 11 Click here to listen to a 1 minute clip
• Sonate 1 Click here to listen to a 1 minute clip
  
  You can see our comprehensive list of CDs on the Recordings page.

History

2011 / 2010 / 2009 / 2008 / 2007 / 2006 / 2005 / 2004 / 2003 / 2002 / 2001 / 2000 / 1999 / 1998 / 1997 / 1996 / 1995 / 1994 / 1993 / 1992

2011

2011 was marked by a series of firsts:  The orchestra launched a new residency at Brighton Dome and Festival, and founded its own choir, Britten Sinfonia Voices – a natural extension of its commitment to artistic adventure and excellence;  Sir Mark Elder made his first appearance with the orchestra ; and Britten Sinfonia also realised a long-held ambition to create its own Academy to develop and nurture young musicians and composers in the East of England.

Strong partnerships were rekindled throughout the season.  Mark Padmore collaborated on a highly acclaimed programme of English Song centred on Gerald Finzi’s Dies Natalis (which was recorded for future release on Harmonia Mundi).  Angela Hewitt received rave reviews for a programme of Bach and Mozart, and Joanna MacGregor was joined by Norwegian Jazz trumpeter Arve Henriksen for a wide-ranging programme which drew inspiration from the music of the American Deep South and the frozen landscapes of the North.  Britten Sinfonia was invited to be part of the Barbican’s Steve Reich weekend in May, and took part in King’s Place tribute to composer John Woolrich, and performed at the BBC Proms, alongside Natalie Clein and the BBC Singers.

Britten Sinfonia’s award-winning ‘At Lunch’ concerts crossed the English Channel in March for a concert at Musee D’Orsay, Paris. The concert featured a new commission from Simon Holt.  New works by Marcelo Nisinman and Charlie Piper also featured in 2011 ‘At Lunch’ concerts;  BBC Radio 3 broadcast a special week of “at lunch” concerts in the Spring. “A Tenner for a Tenor” invited Britten Sinfonia supporters to turn commissioners by investing in a new work by Jonathan Dove for Mark Padmore. Hundreds took up the offer; the new work will be premiered in 2012.  Colin Matthews took the helm for the annual Composers Workshop with Cambridge University.  Britten Sinfonia returned to the Royal Opera House in May for the world premiere of James MacMillan’s opera Clemency, and again in July with singer/songwriter Rufus Wainwright.  Much of August was spent on tour in South America with Finnish violinist Pekka Kuusisto and tenor Allan Clayton performing Britten. The Finnish theme continued into September with “REDDRESS” – a series of performances at the London Design Festival presented by the Finnish Institute.

Norwegian violinist Henning Kraggerud joined the orchestra on a summer tour to South America and then for the start of the 2011/12 UK season.  The season opener paired Berio with Mozart and featured a new work by young composer Piers Tattersall alongside Schubert’s Death and the Maiden.  The year ended on an epic note, with Britten Sinfonia welcoming Sir Mark Elder to the orchestra to conduct Berlioz’s L’enfance du Christ in December.  A stellar line up of soloists featured Sarah Connolly, Allan Clayton, Neil Davies and Roderick Williams.  The performance also marked the critically acclaimed debut of Britten Sinfonia’s new choir, Britten Sinfonia Voices under the direction of Eamonn Dougan, who then travelled with the orchestra to the Concertgebouw Amsterdam for a performance of Handel’s Messiah.

International touring continued apace.  In the Autumn, Britten Sinfonia also headed for the Baltic States and Poland with James MacMillan and returned to Amsterdam and Eindhoven alongside Britten Sinfonia board member Germaine Greer for a programme centred on nature.

2010

One of America’s most highly regarded young composers, Nico Muhly, was in residence with the orchestra throughout January 2010.  A new work by the composer featured as part of Britten Sinfonia’s award-winning lunchtime series in January, and Impossible Things, a major commission for voice and violin, premiered as part of an acclaimed 14 date European tour which brought together Mark Padmore and Finnish violinist Pekka Kuusisto to explore music from both sides of the Atlantic.  Britten Sinfonia’s burgeoning international profile also saw the orchestra tour to Mexico and Spain (with Joanna MacGregor) and to Krakow for a regular series of lunchtime concerts.  A live recording of Britten Sinfonia and Joanna MacGregor’s 2007 tour of South America was released as “Live in Buenos Aires” by Warner Classics & Jazz in February.

A strong year for new commissions also saw works by Gwilym Simcock, Ulrich Kreppein, Christian Mason and a special birthday tribute to James MacMillan by Sir Peter Maxwell Davies performed as part of Britten Sinfonia’s At Lunch series.  All new works were broadcast on BBC Radio 3. Britten Sinfonia made a first appearance at London’s Roundhouse in February as part of Roundhouse Reverb concerts, celebrated Easter with an all-Baltic programme alongside Stephen Layton and Polyphony and welcomed back Imogen Cooper for the close of her acclaimed cycle of Beethoven Concertos.

In April Britten Sinfonia spent time in the studio recording Eriks Esenvald’s Passion and Resurrection with soprano Carolyn Sampson and Polyphony, conducted by Stephen Layton. A busy summer saw appearances at the Aldeburgh Festival, Brighton Festival, City of London Festival, at the BBC Proms with I Fagiolini conducted by Ryan Wigglesworth, and a welcome return to Glyndebourne for two Stravinsky chamber operas, Renard and Maura.

The new season was launched in October 2010 with the world premiere of James MacMillan’s Oboe Concerto, written for Nicholas Daniel and the orchestra; soprano Barbara Hannigan donned leather and whip for a performance of Ligeti’s vocal tour de force, Mysteries of the Macabre and the orchestra returned to the London Jazz Festival and toured Europe with Brad Mehldau and his trio for a live performance of his Highway Rider album.

Creative Learning continued to develop talent, explore concert repertoire and create new music with a series of lively programmes, including projects for young people and children in Norfolk schools, with Cambridgeshire Pupil Referral Unit and composer-led activities in Norwich, Birmingham and London.  A first collaboration with Music of Life provided opportunities for young musicians with disabilities, the ever-popular Family Music Day returned in October with a spooky theme, and the creative use of online resources continued with a popular series of podcasts and downloadable programme notes.

2009

2009 was a busy year for Britten Sinfonia CD releases, in the spring the first release on the Britten Sinfonia own label Songs of the Sky was made, followed by a selection of works by Hindemith. The end of the year saw the release of Handel’s Messiah recorded with Polyphony at St John’s Smith Square in December 2008.

Guest artists in 2009 included Imogen Cooper, Paul Lewis, Pierre Laurent-Aimard, Polyphony, Christopher Hogwood, Katia & Marielle Labèque, Simon Crawford-Phillips, Philip Moore, Lydia & Sanya Biziak, Ludovic Morlot, Henning Kraggerud, Alina Ibragimova, Maggie Cole, Cédric Tiberghien, Oliver Knussen, Ryan Wigglesworth.

In May Britten Sinfonia received the Royal Philharmonic Society Chamber Music Award in recognition of the Britten Sinfonia at Lunch series. The series commissions new works, programmes engaging and lively concerts with world class artists and musicians. Each concert tour in the series travels to Cambridge, Norwich, London, Birmingham and Krakow; the series is also recorded live in Cambridge for broadcast by BBC Radio 3.

A highlight of the summer was Britten Sinfonia’s appearance at the Latitude Festival in Suffolk. Britten Sinfonia was the first classical group to perform at the festival. The orchestra made return performances to the BBC Proms and City of London Festival.

Britten Sinfonia were involved in two exciting projects at London’s Barbican Centre in 2009; the first performing works by iconic composer Moondog and the second working with Danish folk musicians Efterklang.

Another highlight was the Pathenogenesis project, a collaboration between composer James MacMillan, the poet Michael Symmons Roberts, and Archbishop of Canterbury, Rowan Williams. An intriguing music-theatre piece which was performed at the Library Studio, Royal Opera House. Britten Sinfonia were also involved with a new opera, The Yellow Sofa, by Julian Philips, with a libretto by Edward Kemp for The Jerwood Chorus Development Scheme at Glyndebourne.

The autumn brought the opening of the 2009-10 season which has been well received in London, Cambridge and Norwich. The orchestra than went on a very successful tour of Mexico and Spain visiting Morelia, Mexico City and Madrid in late November.

Creative Learning continued their varied work engaging a range of audiences in music and the work of Britten Sinfonia. A highlight of the year was the Great Fen Project. Children from a school in Ramsey and teenagers from Yaxley were involved in creating an audible exhibition inspired by the sounds heard across the Fens. You can read more about it here.

2008

The year began by continuing the 2007-08 season’s tours featuring Britten Sinfonia’sacclaimed musicians and guest artists. The orchestra performed in venues spanning the country and beyond, in Cambridge, Norwich, London, Birmingham, Aldeburgh, Leeds, Cockermouth, Southampton, Stevenage, Shrewsbury, Stamford, Bradford on Avon and internationally in Rome (Italy) and Krakow (Poland).

Guest artists included Pierre-Laurent Aimard, Mark Padmore, Carolyn Sampson, Masaaki Suzuki, Imogen Cooper, Joanna MacGregor, Maxim Rysanov, Katie Mitchell, Iestyn Davies and conductors Alec Roth, Diego Masson and Jurjen Hempel. In a truly unique production that attracted a great deal of press and attention, Britten Sinfonia joined the Michael Clark Company for the Stravinsky Project.

The fêted Britten Sinfonia at Lunch series featuring new works by Richard Causton, Helen Grime, Robin Holloway and Pawel Lukaszewski toured to London, Cambridge, Norwich, Birmingham and Krakow as well as being recorded live by BBC Radio 3. The series begins again in November 2008.

The summer saw Britten Sinfonia in many UK Festivals, including the 61st Aldeburgh Festival of Music and the Arts, the 60th Bath International Music Festival, Salisbury International Festival, Chelsea Festival, Lichfield Festival and the Norfolk & Norwich Festival. Later in the year Britten Sinfonia will return to the London Jazz Festival to star in the opening night’s events alongside Dhafer Youssef and Joanna MacGregor.

Britten Sinfonia’s unique and innovative performances are to be captured on CD, produced by Britten Sinfonia’s own record label in conjunction with Signum, and launched early in 2009.

Creative Learning becomes an increasingly integral area of the ensemble’s work, reaching concert attenders through pre-concert talks and lectures, as well as schools, universites and businesses in workshops and specialist days with Britten Sinfonia musicians.

In a season highlight Britten Sinfonia joins Polyphony choir under the expert direction of Stephen Layton for Handel’s Messiah. This will be the orchestra’s second appearance with Polyphony in 2008.

2007

The ‘Britten Sinfonia at Lunch’ tour continued to be recorded for broadcast by BBC Radio 3 and the tour expanded to include Krakow (Poland), Aldeburgh, Cambridge and Norwich.  In this series and evening concerts, Britten Sinfonia continued its promotion of new music, featuring new works by Tansy Davies, Huw Watkins, Tarik O’Regan, Brett Dean, Pawel Lukaszewski and John Tavener.

Easter concerts with Polyphony were performed to sell out audiences in Norwich and Cambridge whilst later in the year Britten Sinfonia performed at the London Jazz Festival with Gil Evans directing a remarkable programme based around the works from the Gil Evans and Miles Davis partnership. Guest artists for the season included Imogen Cooper, Alina Ibragimova, Carolyn Sampson, Iestyn Davies, Allan Clayton, Andrew Foster-Williams and Pekka Kuusisto.

In May the orchestra was recognised for its myriad achievements by the Royal Philharmonic Society and awarded the Ensemble Award. This coincided with the orchestra touring to South America with Joanna MacGregor, visiting Buenos Aires, Sao Paulo and Montevideo. The programme featured works by Bach, Britten, Golijov and Gismonti amongst others and received a rapturous response from audiences. Players took the opportunity to meet the locals in Creative Learning projects. Cambridge University Press supported the trip. This year also saw performances in Poland and Portugal.

Our discography grew in number and acclaim with recordings of Hartmann’s Concerto Funébre with Alina Ibragimova, Bairstow’s Choral Music and Bruckner’s Mass in E minor and Motets. All were named Editor’s Choice in Gramophone magazine and received numerous glowing reviews

2006

Lux Aeterna, our Hyperion recording of music by Morten Lauridsen, was nominated for a Grammy award.

Our highly successful series of Lunchtime concerts at West Road Concert Hall, Cambridge, was broadcast by BBC Radio 3 over four days from Tuesday 4 April.

Two past projects were revived in April and May: Art of Fugue (renamed Bach meets Moondog) toured to Dartington, Glasgow, Birmingham and Norwich, and our collaboration with Henri Oguike Dance Company played to a sold-out Queen Elizabeth Hall.

2005

Britten Sinfonia is nominated in the Ensemble category in the 2005 Royal Philharmonic Society awards. The first of two recordings for Hyperion is released, featuring Morten Lauridsen’s Lux Aeterna, inspiring rave reviews from both sides of the Atlantic.

Imogen Cooper made her debut with Britten Sinfonia, in performances of Mozart piano concerti.

The entire east end of Bury St Edmunds Cathedral was filled with a huge stage in May, for two performances of Tiger dancing, a collaboration between BS and the Henri Oguike Dance Company. It included new choreography to Tippett’s Concerto for Double String Orchestra, in the composer’s centenary year.

We launched our first ever lunchtime series, Britten Sinfonia at Lunch, at West Road Concert Hall, Cambridge. The series featured five stunning world premieres by John Woolrich, Jason Yarde, Tristan Rhys Williams, Kenneth Hesketh and Joseph Phibbs alongside other chamber works such as Stravinsky’s Octet and Purcell’s Fantasias.

Jacqueline Shave was appointed leader in September.

2004

Nicholas Cleobury stands down as Artistic Director and takes the title Founder Laureate. For up-to-date news on what Nicholas is doing now, please see his website www.nicholascleobury.net

Britten Sinfonia’s Easter concerts with Polyphony and Stephen Layton in King’s College Chapel and Norwich Cathedral lead to recordings of the two main works in the programme: James MacMillan’s Seven Last Words from the Cross and Morten Lauridsen’s Lux Aeterna. Both recordings are released next year on Hyperion.

Britten Sinfonia and The Hilliard Ensemble give the UK premiere of Piers Hellawell’s The Pear Tree of Nicostratus, along with other vocal and instrumental works on the theme of love and lust. The May tour visited Cambridge and the Salisbury and Chelsea Festivals.

Thomas Adès conducts Britten Sinfonia for the first time at the Aldeburgh Festival in June, in a programme including Harrison Birtwistle’s The Fields of Sorrow. The concert was broadcast live on BBC Radio 3.

Britten Sinfonia is invited to play at the distinguished Donauschingen Festival in Germany. The orchestra is invited to dine with the Royal family and to stay overnight in the castle!

The final BBC Proms chamber series from the V&A Museum in London is Britten Sinfonia premiering The Coroner’s Report by Simon Holt.

A major tour with Nitin Sawhney takes the ensemble to Brussels and around the UK in the autumn, including a debut at the Royal Festival Hall. The Telegraph comments “The Festival Hall was packed with an audience that whistled and cheered its approval. One felt there was a genuine meeting of minds between the orchestra and the musicians around it”.

2003

Tour to Greece with Django Bates followed by a UK tour featuring music by American John Zorn set against cartoon inspired pieces by Janacek, John Adams and John Woolrich.

Following a national review of the chamber orchestra sector, Arts Council England announces 100% increase in Britten Sinfonia’s funding.

Britten Sinfonia nominated for two Royal Philharmonic Society awards: best large ensemble and best concert series (for its 2002/03 concert series in Cambridge and Norwich).

Performance at the prestigious George Enescu Festival in Bucharest follows concerts in Brussels and Brugge.

2002

Celebrations for the orchestra’s 10th Anniversary begin with a national tour featuring Evelyn Glennie, including performances in Cambridge, Norwich and Chelmsford, cities all closely linked with the orchestra’s development. This is what the Times said in their preview of the tour:

“Britten Sinfonia, ten years old this autumn, is not only the East of England’s ‘house’ band. It is also one of a new breed of orchestras. They are unfettered by tradition, because they have none. They run risks because they have discovered that, contrary to decades of received music-business wisdom, it is risks that pull crowds. And they are truly post-modern in outlook. They mix and match their programmes with an outrageous glee that would horrify the venerable Philharmonics.”

Orchestra wins Anglia TV’s “Best Arts Event” for Light & Shade coinciding with a CD release of music from the tour for the Sound Circus label.

John Woolrich succeeds David Matthews as Composer in Association. Joanna MacGregor and Nicholas Daniel appointed Associate Artistic Directors.

Britten Sinfonia outgrows King’s Parade offices. Team of eight staff move to new offices in Sturton Street, Cambridge

2001

Premiere of Parthenogenesis, a new work by James MacMillan, who conducts the performance featuring soprano Lisa Milne, baritone Christopher Purves and actor Anastasia Hille.

Debut at the Edinburgh International Festival, with further performances of Parthenogenesis and a portrait concert of music by Stuart MacRae.

Britten Sinfonia returns to the Proms with Ian Bostridge, this time performing Britten’s Nocturne, and also in the chamber Proms with Sam West narrating Stravinsky’s Soldier’s Tale.

Following success of Django Bates tour, Joanna MacGregor is invited to work with the orchestra. She directs a 10 date tour – Light and Shade - featuring music by Arvo Pärt, Lou Harrison, Schnittke and a new work from Nitin Sawhney. The tour is featured in a Joanna MacGregor South Bank Show profile for LWT.

Britten Sinfonia Community & Education organises major projects in Cambridge, Norwich, Chelmsford and Luton, including after school music clubs for young people – Inside Out - funded by the Foundation for Youth Music.

Jonathan Barclay, Senior Partner at Mills & Reeve, succeeds Charles Barrington as Chairman.

2000

UK tour with Django Bates and his jazz group Human Chain. Django Bates writes a new work to celebrate the Millenium – 2000 Years beyond UNDO. Concerts also feature Joanna MacGregor peforming the Ligeti Piano Concerto.

Britten Sinfoina’s first tour to Germany includes performances at Munich’s Gasteig and Frankfurt’s Alte Oper.

1999

Britten Sinfonia makes its BBC Proms debut, featuring a new symphony by David Matthews, Mozart’s ‘Prague’ Symphony and Ian Bostridge performing Britten’s Les Illuminations.

1998

Landmark concert series Frank Zappa and the Fathers of Invention, setting Zappa’s music against Bach, Stravinsky, Varese, Ives and Steve Reich. Sell-out performances given “in the round” in the Cambridge Corn Exchange attract a wide audience, with 80% attending their first “classical” music concert. This initiative is followed up later in the year with trumpeter Guy Barker performing music from the Gil Evans/Miles Davies albums, set alongside Stravinsky and ‘big band’ arrangements of Dunstable and Gesualdo.

Launch of a new concert series in Norwich in partnership with the Norfolk & Norwich Festival. Nicholas Daniel conducts the first concert, an all-Mozart programme.

David Matthews appointed as Britten Sinfonia’s first Composer in Association. His first work, Burnham Wick, given in Birmingham for BBC Radio 3.

1997

Britten Sinfonia awarded £150,000 from the Arts Council’s Arts for Everyone scheme for the development of its work in the East of England.

First of several discs for Classic FM’s new label are made, featuring Britten Sinfonia musicians. Nicholas Daniel, Joy Farrall and Kate Hill record Mozart’s oboe, clarinet and flute concerti respectively.

“The finest performances from British soloists I’ve heard in a decade” Norman Lebrecht, Daily Telegraph

1996

Orchestra works with tenor Ian Bostridge for the first time, with a young Daniel Harding conducting. This successful collaboration leads to other concerts and an EMI recording of Britten repertoire including Our Hunting Fathers.

Germaine Greer joins Britten Sinfonia’s board. Administrative staff increases to 5 people, requiring a move to new offices on King’s Parade, Cambridge.

1995

Britten Sinfonia’s debut CD is released to critical acclaim, featuring David Pyatt in the Strauss Horn Concertos and the Duet-concertino and Serenade for Wind Op.7. It wins a Gramophone Award.

1994

Debut at the South Bank Centre brings further critical acclaim.
“This is undoubtedly an orchestra of which we are going to hear a lot more” The Independent
“A major force not only in East Anglia, but in the musical life of the nation” The Times
The number of concerts increases from 12 in 1993 to 27 in 1994, including the orchestra’s first foreign tour, a residency at the Wratislava Cantans Festival in Poland. Televised concerts include works by Tippett (Symphony No.1 and A Child of Our Time) and Panufnik (Universal Prayer). Chelmsford appoint Britten Sinfonia ‘Orchestra in Residence’.
Michael Tippett’s A Child of our Time
Britten Sinfonia celebrates the 50th anniversary of Michael Tippett’s A Child of Our Time in London’s Adelphi Theatre where it was premièred in the presence of the composer.

1993

Britten Sinfonia’s part in Jonathan Miller’s production of Strauss’ Ariadne auf Naxos provides the orchestra’s first critical success.

Following a grant from the Foundation for Sport and the Arts, Britten Sinfonia appoints its first Education Manager to foster a community and outreach programme alongside its concerts.

1992

Britten Sinfonia launches following an initiative from Eastern Arts and a number of key figures including Nicholas Cleobury, who recognise the need for a world class orchestra in the East of England. Britten Sinfonia reflects Benjamin Britten’s artistic vision: a commitment to early music as well as new music, to music education and music performance of the highest quality, a commitment to the East of England and an ambassadorial role on the world stage.

Nicholas Cleobury becomes Artistic Director, and the first concert took place in Chelmsford featuring a mixed programme of works by Bach, Copland, Stravinsky and Colin Matthews, illustrating the new ensemble’s commitment to a broad range of entertaining repertoire.

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Meet the Players

The orchestra is widely praised for the quality of its performance and intelligent approach to concert programming, which is centred around the development of its players. Our principal players are celebrated in their fields, and as freelance players are active in other ensembles and orchestras. Information on each musician is available by following the links below to interviews, biographies and photos of the players in action.

Meet the Trustees

The Board

Stephen Bourne, Chairman
Stephen trained as a chartered accountant and has held managerial roles in various industries including publishing and printing. Having joined Cambridge University Press in 1997 he became Chairman of its printing business in 2000, and Chief Executive in March 2002. Stephen joined the board in 2003.

Charles Rawlinson MBE, Deputy Chairman
Charles trained as a Chartered Accountant after gaining a MA from Jesus College, Cambridge. He became Joint Chairman of Morgan Grenfell & Co. merchant bankers and has been Chairman of several other companies. Charles is a founding Trustee of Britten Sinfonia.

Dame Mary Archer, DBE
Mary taught chemistry at the University of Cambridge for 10 years before developing a wider portfolio of interests. She has been chairman of Cambridge University Hospitals NHS Foundation Trust for the past ten years, and was appointed DBE in summer 2012 for services to the NHS. She is also patron of the Sinfonia of Cambridge, and President of the Guild of Church Musicians, the National Energy Foundation and the UK Solar Energy Society.

Jonathan Barclay
Jonathan is former Senior Partner of Mills & Reeve, the largest law firm based in the East of England, and has a long involvement in the arts in the region. He is now a consultant with Mills & Reeve, and non executive director of several local companies. Having joined Britten Sinfonia’s Board in 1998, he became its Chairman in 2001.

Dr Jerome Booth
Jerome is an economist and a co-founder of the emerging markets fund manager Ashmore Group plc. He is also a director of the Lloyds broker CBC UK Ltd, Chairman of the Fitzwilliam Museum Development Trust and a member of the governing board of Anglia Ruskin University.

Prof. Germaine Greer
Writer, academic and broadcaster, Germaine is best known for books such as The Female Eunuch and The Whole Woman. She is currently Special Supervisor in English at Newnham College, Cambridge.

Margaret Mair
Margaret read Law at St Anne’s College, Oxford, qualified as a barrister and spent most of her career in the Government Legal Service. After moving to Cambridge in 2001 she worked for the executive education team at the Judge Business School. She is closely involved in the musical life of Jesus College and is chairman of the Friends of the Fitzwilliam Museum.

John Stephens, OBE
John’s wide experience in music education includes appointments as HM Inspector for Schools, Staff Inspector for Music for Inner London and Head of Music Education at Trinity College of Music. Currently he advises orchestras and opera companies seeking to extend their educational activities.

Guest Artists

The artistic vision of Britten Sinfonia is built around the extraordinary skills and development of its players – all chamber musicians and soloists of the highest quality.  Britten Sinfonia invites international artists from across right the musical spectrum to work with them on projects suited to the particular skills of each visiting artist. More recently the orchestra has developed close associations with certain artists who they consult and work with regularly.

For more information on the artists featuring in the 2010-11 season and our debut season at the Barbican, follow the links below:

A  B  C  D  E  F  G  H  I   J  K  L   M   N  O  P   Q  R   S   T  U V  W  X  Y   Z

A

Thomas Ades

B
Kuljit Bhamra
Luke Bedford
Ian Bostridge

C
Choir of St John’s College, Cambridge
Enrico Chapela
Allan Clayton
Sarah Connolly
Lucy Crowe

D
Peter Maxwell Davies
Neal Davies
Jonathan Dove

Julia Doyle

E
Sir Mark Elder
Eriks Esenvalds

F

G

H
Barbara Hannigan
Arve Henriksen
Angela Hewitt
Simon Holt

I

Alina Ibragimova

J

K
Simon Keenlyside
Andrew Kennedy
Henning Kraggerud
Pekka Kuusisto
Oliver Knussen

L

M
James MacMillan
Colin Matthews
Joanna McGregor
Brad Mehldau
Nico Muhly
Tim Murray
Robert Murray

N
Marcelo Nisinman

O

P
Mark Padmore
Julian Philips

Q
R
Vadim Repin
Seb Rochford

S
Andy Sheppard
David Soar
Storioni Trio

T
Elin Manahan Thomas

U

V

W
Richard Watkins
Ryan Wigglesworth
Roderick Williams
John Woolrich

X

Y

Z

Meet the Staff

To contact a member of our staff please either telephone +44 (0)1223 300795, email info@brittensinfonia.com or send a direct email using the following format: firstname.surname@brittensinfonia.com.

FAQs

What is Britten Sinfonia?
Britten Sinfonia is a flexible ensemble composed of the finest chamber musicians in Europe. Our players are freelance musicians who are employed on a project-by-project basis. Britten Sinfonia performs around 70 concerts per year and works with hundreds of people of all ages in the communities where the orchestra is resident.

How is it managed?
Britten Sinfonia is a limited company and a registered charity. A board of directors oversees the company which is run by a management team of 10 people, led by the Chief Executive. The offices are based in Cambridge.

How is Britten Sinfonia funded?
Britten Sinfonia is supported by a wide variety of public, corporate and private sources, through a complex mix of grants, sponsorship, and individual giving. Arts Council England provides the foundation to our work but all other contributions are vital to the development of our activity. Ticket sales income, management fees for ‘engaged’ events and merchandising are all ways we support ourselves. Current turnover is £1,100,000, which has grown by 35% over the past three years.

How can I support Britten Sinfonia?
We currently run a variety of individual giving schemes: SinfoniaFriends, SinfoniaChairs, SinfoniaCommissions and SinfoniaRecording.Click here for further information about these schemes. Companies can support our work by joining SinfoniaNet, our corporate networking scheme. We are always delighted to hear from anyone who wishes to support us. Please email Will Harriss or call 01223 300795 for an informal chat.

What happens to the £25 I spend on a concert ticket?
£3.72 goes straight to the government as VAT. We are a not-for-profit organisation so all the income we make from ticket sales, programmes and sponsorship is spent on hall hire, artists and marketing expenses.

Why doesn’t BS have an Artistic Director?
Because of the breadth of repertoire we perform and wide range of types of projects we undertake, we prefer to work with different soloists, conductors and composers, who are specialists in particular fields. These projects are curated by the Chief Executive and an artistic team. This gives us more flexibility and freedom to develop new ideas, all centred around the quality and development of our players.

Are the players employed full-time?
No. Almost all chamber orchestras in the UK employ freelance musicians on a project-by-project basis. This allows us to be versatile with size and orchestration. You will usually see the same players at most concerts, however.

What is ‘In conversation’?
‘In conversation’ talks are pre-concert events which are free to concert ticket-holders. A featured soloist, composer or member of the orchestra talks about the concert and answers questions from the audience. You don’t have to have any musical knowledge to appreciate these informative and often very entertaining events.

Vacancies

Orchestra Opportunities

There are no vacancies within the orchestra, but musicians interested in playing with Britten Sinfonia can send a CV and covering letter to Annabel Marsland, Concerts Assistant, at 13 Sturton Street, Cambridge CB1 2SN, or by email. We may not be able to reply to each individual.

Administration Opportunities

There are currently no vacancies


Sinfonia Students

An ambassador scheme to allow students to gain some valuable and practical experience contributing to the work of the orchestra. We’re looking for students from Cambridge and Norwich who are interested in music and arts marketing. Details of the role and benefits are detailed in the documents below. To register your interest please write to or email info@brittensinfonia.com explaining why you would like to work with Britten Sinfonia. This is an ongoing scheme, so please do email at any time.

Job Summary Cambridge
Job Description Cambridge
Job Summary Norwich
Job Description Norwich
 

Ongoing Opportunities

If you are interested in volunteering or stewarding at our events please email info@brittensinfonia.com.

About Us

There are few more thrilling things in British music than Britten Sinfonia on top form.
Ivan Hewett, The Daily Telegraph

Britten Sinfonia is one of the world’s most celebrated and pioneering ensembles. The orchestra is acclaimed for its virtuoso musicianship, an inspired approach to concert programming which makes bold, intelligent connections across 400 years of repertoire, and a versatility that is second to none. Britten Sinfonia breaks the mould by not having a principal conductor or director, instead choosing to collaborate with a range of the finest international guest artists from across the musical spectrum, resulting in performances of rare insight and energy.

Britten Sinfonia is a Barbican Associate Ensemble and has residencies in Norwich, Brighton and Cambridge (where it is the University’s Orchestra-in-Association).  The orchestra also performs a chamber music series at Wigmore Hall and appears regularly at major UK festivals including Aldeburgh and the BBC Proms. The orchestra’s growing international profile includes regular touring to Mexico, South America and Europe.  In February 2012 Britten Sinfonia made its American debut at the Lincoln Centre, New York. 

Founded in 1992, the orchestra is inspired by the ethos of Benjamin Britten through world class performances, illuminating and distinctive programmes where old meets new, and a deep commitment to bringing outstanding music to both the world’s finest concert halls and the local community.  Britten Sinfonia is a BBC Radio 3 broadcast partner and regularly records for Harmonia Mundi and Hyperion.

In 2012-13 season Britten Sinfonia celebrates its 20th anniversary with gala concert at the Barbican featuring close associates Kuljit Bhamra, Alina Ibragimova, Pekka Kuusisto, Joanna MacGregor, Mark Padmore, Seb Rochford, Andy Sheppard, and Britten Sinfonia Voices, with birthday tributes from James MacMillan and Nico Muhly.

Other collaborators this season include Ian Bostridge, Alice Coote, Colin Currie, Angela Hewitt, Alina Ibragimova, Pekka Kuusisto and Mark Padmore, with premieres from composers including Gerald Barry, Ēriks Ešenvalds, Alissa Firsova, Detlev Glanert, Jay Greenberg, Nico Muhly, and Dobrinka Tabikova. Following UK performances, many of these collaborations will tour internationally to major European cities with performances in some of the world’s finest concert halls.

Central to Britten Sinfonia’s artistic programmes are a wide range of creative learning projects run by the orchestra.  In the 2012-13 season Britten Sinfonia will premiere a work commissioned through OPUS 2013; the orchestra’s new project (in partnership with Wigmore Hall) offering unpublished composers the chance to receive a professional commission performed as part of Britten Sinfonia’s award-winning At Lunch series.

The season also sees the debut performances from Britten Sinfonia Academy featuring talented young musicians and composers from across the East of England. Led by Britten Sinfonia musicians and guest artists, the Academy specialises in the features that make Britten Sinfonia unique, including exploring new music and crossing genres, composition and improvisation, and performing without a conductor. Our Academy will help to develop the next generation of musicians and is central to our vision for the future.

Britten Sinfonia has received many awards including two prestigious Royal Philharmonic Society Awards in 2007 and 2009 (Ensemble and Chamber Music respectively). Britten Sinfonia recordings have been Grammy nominated and received a Gramophone Award. In 2008 the orchestra and its International Partner, Cambridge University Press, won the Arts & Business International Award for its tour to South America.

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